ÏMBlEMATA

5

H лсоіел гатит dextra, páceme^ гейт(Jam
D efert, ас vigili cura iubet omnia femes.

S umfluuij Hungariafeptem tuafeeptra verentes,
Qjàfibiprouideas orant, cutfufo perenni
R iti nionent curarum molem meumbere Regit
N une humerii, tefoliicitum debere caduca
Partibus obijcere ex animo,faluamq] tueri.
H ас vult, ас petit armagerens,пес UtapueUa.

F arte alia eß domitrix Virtus,Üo duxfyferwum
С andidas hunc Boemi fubmitttm Maxmtliane,
Imperio,portent ingemmant, dominum fofalutant,
S ed br embus repetamfpes qua patria tenet agram.

D epofita ас tones intiere concuffa refurget
P annonia,exitijfo modum te Rege futurum
Sperai, conflitues Bizjtntij firma tropbaa.
D efinet tmptetas,te Cafare pur tu inique
P oflhabitustfe Deurn cultus,probitas ¿fa redibit.
D iffugient nimbi,fublatts nubibusder
Jn medio cunftufplendefcet, teferet vnum
I n terris Regem populus, compagefaiuta
С orporis, ad Superûm fedesjßellasaj reuifes,
О rnabtsfo aliquodfidiis, proprium fo dicabis.

J am tu Magnorum decus,& Rex maxime Regum,
P aucula qua mitto placida fimulaccipe fronte,
Quotfcfauorefolesnimium cumulatoclientem
S ambucum: merito tanti qui incenfts amore
P rincipis, hac offert domino non digna potenti.
S edmitem noui,facilem expertusfofubinde,
О ro, clementi afpicias mumtfcula vultu,
Qua hifi uuper,poßponens feria nugis:
G andata in clara genero fu ciutbus vrbe,
H ofpitio celebri feceffu ¿rfemper amico.

A ; Sufcipe

31. A Granjon old-face italic, 1566 [223]

54

The Italics

specimen sheets, others, e.g. the Egenolff-Berner foundry of Frankfurt
snowed each example of roman followed by one of italic on the same
body in its famous specimen of 1592.

Characteristics of italics in this group

'By old-face italic we mean the kind of letter of a marked inclination
in both upper-case and lower-case which was usual in European typo¬
graphy from about 1540 down to the time of Caslon. It is the italic
which accompanies the old-face roman, although it originated some¬
what later and was not at first designed as a companion letter.'1

These cursives were of'a decided slope and with an inclined but irreg¬
ular upper-case. Irregularity of the angle of inclination in both upper-
and lower-case, was a general characteristic. Most of the letters, in the
initial and final strokes, continued the cursive quality of the hands after
which they were originally designed.'2

Some contemporary old-face italics

Caslon (Caslon, now Stephenson Blake), Janson (Stempel),Van Dijck
(Monotype).

* * *

A description of the fourth main grouping of italic faces—the modern¬
ized italics—will be left until later .The group will then be in its correct
place chronologically and will thus not confuse students who may, as
yet, have heard little or nothing of the transitional or modern faces—
and may wonder how the latter have developed from the designs of
Garamond and Caslon.

12A. F.Johnson. Type Designs: their History and Development.

55